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Peeks
and Piques!
By
RAYMOND J. STEINER SOME THIRTY YEARS —
twenty-one of them with ART TIMES
— of writing about art and artists has yielded, along with some
pleasant surprises, not a little disillusion. As anyone who has read my
essays, critiques, and reviews over the years can no doubt confirm, I
approach art with a fairly constant point of view. Perhaps erroneously
— definitely stubbornly — I’ve come to the business of artwriting
with what is the somewhat old-fashioned idea that art claims a certain
privileged status in our lives and that people who make it have an obligation
to uphold that standing. In this respect, then, the artist (in my perfect
world) is burdened with the onus of creating only that which both supports
and furthers that special place in our lives. My friend, Jörg Iwan, a
Berliner and now a retired scientist, tells me that most Americans are
“blue-eyed”, an expression that the Germans use to denote our often naïve
— if not in fact benighted — view of the world. I cannot but
agree that I am among those blue-eyed innocents. Even after seventy-two
years on this planet and about thirty of those years in writing about
art, I continue to hold fast to the idea that art-making stands outside
the usual fare of our lives, that ever since its inception in pre-historic
times, the making of images has had as its primary purpose the communication
of things that were not, ultimately, ‘worldly.’ Pre-dating all written
and spoken language, art necessarily pre-dates religion and probably served,
as Otto Rank posits in his Art and Artist, as a kind of proto-religion. In this respect, the
making of symbolic markings was the result of an inner compulsion to express
something beyond one’s world, to communicate in some manner a sense of
another reality outside of or beyond that of the sensual one. Those under
such compulsion, in effect, were answering a call and, in doing so, became
our first priests, our first mediators between heaven and earth. They
were ‘inspired’ in the original sense of that word, namely ‘breathed into’
by God. It was only later, when tools and techniques evolved, that later
image-makers turned their eyes earthward and began depicting flora and
fauna on cave walls with the result that representation, because easier
to read by uninspired viewers — and, let’s be honest, equally easy
for the uninspired artist to produce — quickly took the place of
abstract signs. Thus, art slowly made the transformation from that of
an inner compulsion to express the ineffable to an external one of mere
depiction of the obvious. Technique, in and of itself however, has never
made the artist, but only the skilled artisan; it has always been and
will continue to be subject matter which defines the genuine artist —
and by subject matter I do not mean social, political, and especially
not economical issues, all of which are concerned with earthly affairs.
Once diverted from its original use, the mere making of images
for their own sakes was a sure progression from symbolic expression, to
cherished artifact, to marketable commodity, a progression that, to my
mind, has devalued the creative process. That its original use has been
historically preempted for other uses and other ends — including,
ironically, those stylized linguistic dogmas that came about after we
invented the written language and which we now commonly refer to as “religion”
— is not denied by me. That this has been
the case lies at the bottom of my disappointment; that it must be the case, my constant and strenuous objection —
a fact made evident (too
evident for some of my readers) in the bulk of my artwriting. Just as
religion has been corrupted by dishonest priests seeking to enrich themselves
by imparting the divine message, so also has art been corrupted by those
gifted artists caving in to the selfsame marketplace. Still, in spite
of the general trend to misuse the creative spirit, what has kept me going
over the years has been the occasional light in the forest that convinces
me that somehow that original spark continues to flare up now and then.
I’ve been fortunate to come across such painters — among a handful
of others — as Gabriela Gonzalez Dellosso, Marilyn Cohen, Eric Angeloch,
Zhang HongNian, Morton Kaish, Carolou Faller Kristofik, Pamela Jarrett,
and more recently Keith Gunderson, John Varriano, and Franz Heigemeir
— all of whom give evidence of a vision that hints of the ‘other
worldly’ stuff which I have always sought (and continue to seek) when
I am on my gallery rounds. So, all is not lost. And, as long as I continue
to uncover the occasional light in an ever-encroaching sea of darkness,
I hopefully look forward to the next twenty years of ART TIMES. |